Introduction

Texturity PBR creates PBR texture map sets from a single source image. It generates normal, albedo, depth, ambient occlusion, and roughness maps, allowing you to customize the output maps through live sliders and overlays in the sidebar, and search for source references directly from stock photography services.

Each map tab keeps its settings as a stack of layers and effect cards, so a map can be built up, painted on and rearranged without ever losing what is underneath. Optional Alpha and Metalness tabs add the two remaining channels of a full PBR set, and the whole session can be saved to a Texturity document and reopened later.

Workspace tabs

Use the top tab bar to move between stages of the texture workflow:

• Source — Import, clean up, crop, and rotate the input texture. Load local images or search stock providers directly. Repair seams using the Inpaint, Rebuild Seam, or Texture Rebuild sections in the sidebar.
• Normal — Configure and preview the generated normal map (GL or DX format) and blend detail levels.
• Albedo — Adjust the generated albedo with source opacity, color overlays, Ambient occlusion overlay, and color filters.
• Depth — Adjust depth flattening and filters for the depth map.
• Ambient Occlusion — Fine-tune the Ambient occlusion map with radius, strength, bias, and blur controls.
• Roughness — Configure roughness map settings using either the Classic or Curvature method.
• Alpha (optional) — Cut the texture out: isolate an object or a tree, key a colour away, and refine the edge. See Alpha Masks.
• Metalness (optional) — Paint which parts of the surface are metal. See Metalness.
• 3D PBR — Preview the material on a 3D object (Plane, Rounded Cube, or Sphere) with customizable lighting, camera, and displacement settings.
• Export — Configure export folder, naming, file formats, upscaling factor, and select which maps to export.

Alpha and Metalness are not shown until you ask for them. Click the round + button at the right of the tab bar and choose the one you want; the small × on the tab closes it again. Which of them are open is stored with the document, so a file saved with alpha work reopens showing it.

The rotated ellipsis (three dots) next to the sidebar's tab title holds the commands that apply to the whole tab: Reset to Default, Paste Layer, Import Image as Layer…, and the preset list.

Typical workflow

1. Import, paste, or search for a source texture.
2. Clean it up with Spot Heal or Clone Stamp, crop or rotate it in the Source tab.
3. Enable tiled preview mode to evaluate seam repeating.
4. Optionally repair seams using Inpaint or Rebuild Seam modes. Or, use Texture Rebuild to generate new pattern based on the source image.
5. Press Generate to build the first set of maps.
6. Adjust Albedo, Normal, Depth, Ambient occlusion, and Roughness settings in their respective tabs — most controls update live from cached results. You can save this settings combination as a preset to quickly apply it to other textures.
7. If the texture needs transparency or metal, open the Alpha or Metalness tab from the + button and paint it there.
8. Preview the material in the 3D PBR tab.
9. Export the selected maps to disk in the Export tab, or run a whole folder through Batch Export.
10. Save the session as a Texturity document (Command-S) if you want to come back to it — see Saving and Opening Documents.

Preview modes

Toggle the preview mode button in the toolbar under the preview window:

• Square — Single texture view.
• Tiled — Repeating tile view to check seams and tiling quality.

Working with the Source Texture

Importing and Resetting

You can load a texture into the workspace by:

• Dragging an image file directly into the window.
• Clicking the Import Texture (or Replace Texture) button in the sidebar.
• Pasting an image from your clipboard (Command-V).

Click the Import from stock button to search online texture references from providers (Pexels, Pixabay, or Unsplash) directly inside the app. Clicking a search result loads it as your source image.

Use the Reset All button in the sidebar to clear the current texture and revert the workspace settings to their defaults.

Stock browser

When searching stock images, use these controls:

• Provider menu — Switch between Pexels, Pixabay, and Unsplash in the dropdown.
• Search field — Type keywords to search online.
• Hover preview — Hover over a thumbnail to see a larger pop-up view.
• Load more — Click to load additional pages of results.
• Back — Return to the main Source settings sidebar.

A result can join the document in two ways. Import as Source replaces the source texture, while Add as Layer drops the picture into the current tab as a layer of its own, with a mask ready to paint on. A layer placed this way arrives under the Move tool: drag it where it belongs, drag one of the dots to resize it, then press Return to set it down.

Toolbar tools

The toolbar under the preview window contains tools for editing the texture canvas directly:

• Pan (hand icon) — Click and drag the preview canvas to pan. You can also hold the Spacebar to temporarily pan while using other tools.
• Heal / Spot Healing Tool (band-aid/brush icon) — Paint over defects or unwanted details to automatically heal them. Click to select the active healing brush tool, or hold the button to switch between the healing options. Use the bracket keys [ and ] to change the brush size.
• Clone Stamp (stamp icon) — Copy details from one area of the texture to another. Hold Option and click to define the source point, then paint over the target area. Adjust brush size with the [ and ] keys, and set the Opacity in the toolbar popover.
• Dodge / Burn (sun/flame icon) — Paint to lighten (Dodge) or darken (Burn) an area. Click to use the selected tool, or hold the button to switch to the other one. Set Width, Blur and Strength in the toolbar popover (or change size with the [ and ] keys). The effect keeps the colour of the area instead of washing it toward grey. Available on the Source and Albedo tabs.
• Brush / Eraser (brush icon) — Paint directly onto the texture, or into the layer or mask selected in the sidebar. Click the pill for the current tool, or hold it to switch to the other one. Choose the Color and Opacity, and set the brush Width and Blur in the toolbar popover (or change the width with the [ and ] keys). Hold Option to switch to an eyedropper and click to sample a color from the canvas. Hold Spacebar to pan while painting. Switch Stencil on in the popover to give the stroke a texture of its own — see Stencils below. The brush is available on the Source, Albedo, Normal, Depth, Ambient Occlusion, Roughness, Alpha and Metalness tabs; what it writes into is whichever card is selected in the sidebar.
• Magic Wand / Smart Mask (wand icon) — Two selection tools on one pill. Click for the current one, hold to choose the other. See Selection tools below.
• Polygonal Lasso / Marquee (lasso icon) — The shape-drawing selection tools. Click for the current one, hold to choose another. See Selection tools below.
• Sculpt (Normal tab) — On the Normal map tab the brush is replaced by the Sculpt tool: instead of painting color it raises or lowers the painted area. Use the Elevation slider (positive raises, negative lowers); Width and Blur shape the bump. Only the painted area's relief changes — the underlying normal detail is preserved.
• Crop (crop icon) — Trim the source texture. Toggle between standard rectangular crop and perspective crop modes. Specify target output dimensions using the Width and Height fields in the crop overlay. Rotate the texture 90° clockwise. Press Return to apply or Escape to cancel.

Selection tools

Two toolbar pills hold the selection tools. A selection is not a permanent thing you have to manage: draw it, apply it, and it is gone. Where it applies depends on the tab — into the alpha matte on the Alpha tab, into the metalness map on Metalness, and into whichever layer is selected on the rest.

• Magic Wand (W) — Click a colour to select its connected region; Option-click subtracts it. Tolerance sets how different a colour may be from the clicked pixel and still be selected. Switch Contiguous off to select matching colours across the whole image rather than only the connected patch.
• Smart Mask (S) — A rough stroke that finds the real edge underneath it; the stroke is only a search area, not a shape. Choose the pass in the tool popover: Find Object Boundary starts on what is already selected and runs over the part that is missing, Find Background Boundary starts on known background and runs over an area that should not be there. Tolerance sets how far the material may grow out of the stroke.
• Polygonal Lasso (L) — Click to place points and close the shape on its first point or with Return. Hold Shift while placing a point to snap the segment to 45° directions, and Delete removes the last point.
• Rectangular Marquee and Elliptical Marquee (M; Shift-M swaps which of the two the key reaches) — Drag out the shape. Shift while dragging keeps it square or circular, Option grows it from the centre, and holding Space moves the whole shape — let go to carry on sizing it from there.

The modifiers held as a shape is started decide how it joins what is already selected: Shift adds, Option subtracts, Option-Shift intersects. Once a selection is closed, fill it with + (white) or − (black), or use the Add, Subtract and Intersect buttons in the toolbar. Esc deselects.

Stencils

A stencil is a grayscale mask the brush paints through, so a stroke carries grain, cracks, foliage or spatter instead of laying down a flat patch. Switch Stencil on in the brush popover and press the settings button beside it to open the gallery.

• Stencil Set — Choose between Stencil Presets (the masks that ship with the app) and Custom Stencils (the ones you added yourself).
• Use Map — A third set in the same menu, holding the maps this document has already made: Depth, Ambient Occlusion, Roughness, Metalness, Alpha, Emission and a generated Albedo. Picking it sets Scale to 100%, where a map lines up with the canvas pixel for pixel, so you can paint through the document’s own relief or cavities. The maps are read when the gallery opens; until something has been generated, the set is empty.
• Search — Type to filter the gallery by name. Hover a thumbnail for a larger preview.
• Scale and Opacity — How large the mask is over the canvas, and how strongly the preview overlay is drawn.
• Pan and Rotate — Move and turn the mask under the brush. Double-click either control to reset it.
• Color and Invert — The colour of the on-canvas preview, and whether the mask is used the other way round.

To add your own: right-click any texture preview and choose Add Image to Stencils. The image is converted to grayscale and filed under Custom Stencils, where its context menu offers Rename… and Delete.

On the Normal tab the Sculpt brush takes a stencil too: the mask scales how far each part of the stroke lifts the surface, so a grunge mask carves its own grain rather than stamping a flat bump.

Switch on Randomize rotation per stroke in the gallery to have the stencil turn by a different angle at the start of every stroke, so repeated dabs do not stamp the same shape over and over.

Flatten Lighting Gradient

Use the Flatten Lighting Gradient section in the sidebar to even out broad lighting gradients, shadows, and highlights in your source texture. Toggle the section switch to enable it, and use the Flatten amount slider to control the effect strength.

Match tile edges deals with the one place the sweep above cannot reach: where the picture wraps round and meets its own edge. Switch it on when the texture is meant to tile and one side comes out lighter than the other, and set how far it reaches with Edge match amount. The label beside the section says what was found in the picture — a linear or radial sweep, a seam, or both.

Seam repair

To make your texture tile seamlessly, use the following panels in the sidebar:

• Seam Repair — Toggle the switch in the header to activate. Use the segmented picker to choose the repair method:
  • Inpaint — Blends seams using details from surrounding areas. Adjust the band thickness with the Seam patch width (px) slider, then click the Build Inpaint Layer button.
  • Rebuild Seam — Places tiles along the seams. Adjust the size of the blending band with the Seam patch width slider, then click the Build Rebuild Seam Layer button.
• Texture Rebuild — Synthesizes a completely new seamless texture based on the source. Add the card from + Add at the bottom of the sidebar. Toggle the header switch to show or hide the rebuilt layer. Use the Scale slider to adjust the frequency of the repeated details, the Patch size slider to change the size of synthesized blocks, and click the Build Texture Rebuild Layer button to run the synthesis.

You can toggle the visibility of individual seam layers at any time using the switches in their respective headers without rebuilding them.

Two switches under Inpaint tidy up the strip it painted. Match seam detail brings the repaired band back to the sharpness of the texture around it, and Match seam color pulls its colour and brightness back into line, so the repair does not read as a stripe once the texture repeats. Turning either one on or off is instant: the repair itself is not recalculated.

Filters

The adjustments are cards in the Source sidebar stack. They are not there until you add them: press + Add at the bottom of the sidebar and choose Levels or Hue, Saturation & Lightness. Each card has its own bypass switch, can be dragged to another place in the stack, and is removed with the Delete key or its context menu. See Layers and Effects.

• HSL — Adjust the overall color tone using the Hue, Saturation, and Lightness sliders. Click the Reset button next to HSL to clear these sliders.
• Colorize — Check this box to tint the image with a single hue.
• Input levels — Adjust the input levels histogram sliders (Shadow, Midtone, Highlight, Output range) to compress or stretch image tones.

Tile Repeat

Add Tile Repeat from the + Add menu at the bottom of the Source sidebar to make the pattern read finer without changing the canvas size. Toggle the switch in the section header to shrink the texture and repeat it across the canvas, then use the segmented picker to choose the density:

• 2×2 — Four copies of the tile, each at half size.
• 4×4 — Sixteen copies of the tile, each at quarter size.

The repeat is a live, reversible layer, just like the seam layers: switch it off at any time and the original texture comes back untouched. The shrunk copies are sampled across the tile wrap, so a seamless texture stays seamless and the joins between repeats remain invisible.

Because the whole pipeline reads the repeated image, toggling Tile Repeat or changing its density clears the generated maps — press Generate again to rebuild them from the new source. Applying a canvas tool (Heal, Clone Stamp, Paint Brush, Dodge / Burn, or Crop) bakes the repeat into the texture and switches the section off.

Generate all PBR textures

After your source texture is ready, press Generate to create the first set of texture maps.

Generate

Use the main button at the bottom of the sidebar:

• Generate All PBR Textures in the Source tab to build all maps.
• Generate From Source or Regenerate From Source in the Albedo or Normal tabs to rebuild them from the current source texture.

What You Get

Generation creates the maps used across the app, including:

• Albedo for base color.
• Normal for surface detail.
• Depth for height information.
• Ambient Occlusion for contact shading.
• Roughness for surface response.

Alpha and Metalness are not part of a generate run. They are painted or cut out on their own tabs, which you open from the + button at the right of the tab bar — see Alpha Masks and Metalness.

Adjust After Generating

Once the maps are generated, you can fine-tune them in the sidebar and see the result update live.

• Change normal format and strength.
• Adjust albedo look and overlays.
• Tune depth, ambient occlusion, and roughness.

When to Generate Again

You usually only need to generate once, then adjust the results. Generate again if you replace the source texture or want to rebuild the maps from scratch.

Layers and Effects

Every map tab keeps its sidebar as a stack of cards, the way an image editor keeps a Layers panel. A card is either a layer — pixels of its own with a mask beside them — or an effect: an adjustment, an overlay, or the generator step that builds the map. A card only sees what sits below it, so the order of the stack is the order in which the map is put together.

Working with the stack

• + Add — the button at the bottom of the sidebar. Its menu offers only what the current tab can use, and hides whatever is already in the stack.
• Reorder — drag a card by its header to a new place in the stack, or use Move Up / Move Down in its context menu.
• Select — click a card. The selected card is outlined, and the canvas tools write into it: painting, erasing, the Magic Wand and the selection tools all land in the selected card.
• Delete — press Delete or Backspace with a card selected, or choose Delete Layer / Delete Effect from its context menu.
• Visibility — the switch in a card's header. Switched off, the card keeps its settings but no longer reaches the map, which is how you compare with and without it.
• What does this card do? — move the pointer over a card and a question mark appears next to its title. Hover the mark for a short description of the card.

Layer cards

A layer card holds two thumbnails: the Layer itself (the pixels) and its Mask (where those pixels show). Click a thumbnail to choose which of the two the brush, the eraser and the selection tools write into. A solid-colour layer has no pixel thumbnail — its colour comes from the colour well — so only its mask can be painted.

• Layer color — the colour well of a Solid Color layer.
• Opacity and Blend mode — how the layer is mixed with everything below it. The blend menu carries the full set: the six basics first (Normal, Multiply, Screen, Overlay, Soft Light, Color), then Dissolve, the darkening group (Darken, Color Burn, Linear Burn, Darker Color), the lightening group (Lighten, Color Dodge, Linear Dodge (Add), Lighter Color), the contrast group (Hard Light, Vivid Light, Linear Light, Pin Light, Hard Mix), the comparative group (Difference, Exclusion, Subtract, Divide) and the component group (Hue, Saturation, Luminosity).
• Invert and Clear — the two buttons beside the thumbnails act on whichever of the two is selected.
• Context menu on a thumbnail — Copy Layer / Paste Layer, Invert, Clear on the pixel side; Copy Mask, Paste Mask, Fill, Clear, Invert on the mask side. A mask can be copied from one layer and pasted onto another.

Masks on a layer

An imported or pasted layer arrives without a mask. Add at the foot of the open layer card offers Add Mask, and from then on the card carries two thumbnails: painting black on the mask hides part of the layer, painting white brings it back. Delete Mask in the mask thumbnail’s context menu takes it away again and the whole layer shows.

The small chain between the two thumbnails decides whether the mask travels with the picture. Linked, moving or resizing the layer carries the mask along with it. Unlinked, the mask stays where it is and the picture slides underneath — which is how you hold a shape still and try different parts of a photograph inside it.

Layer commands

Right-click a layer card's header:

• Rename Layer… — give the layer a name of your own.
• Copy Layer / Paste Layer — duplicate a layer into another tab, or paste an image from the clipboard as a new layer.
• Bake Layer — flatten what the card produces into ordinary pixels. The generator cards (Isolate Object, Alpha from Depth and the rest) become editable layers this way.
• Duplicate Layer, Move Up, Move Down, Delete Layer.
• Transform — move and resize the layer right on the canvas. Drag inside the frame to move it, drag one of the dots to resize, then press Return to apply or Esc to cancel.

Adding a layer

• + Add ▸ Solid Color — a colour layer for painting, erasing and Magic Wand selections.
• + Add ▸ Noise, + Add ▸ Clouds — a colour layer that covers the whole texture with noise or seamless clouds between two colours, black and white to begin with. Both colour wells sit in the card’s heading. Noise has Amount (%); Clouds has Scale, Detail, Contrast and Variation. Paint, erase or mask it like a Solid Color layer. Not offered on Normal.
• Import Image as Layer… — in the menu behind the rotated ellipsis (three dots) next to the sidebar's tab title. Loads an image file as a new layer on the current tab.
• Paste Layer — offered in the + Add menu, in the ellipsis menu and in a layer's context menu whenever the clipboard holds an image or a copied layer.

Layer effects

The Add button at the bottom of an expanded layer card attaches an effect to that layer. Which ones are on offer depends on whether the layer or the mask thumbnail is selected. Each effect gets a small card of its own, with a switch to bypass it and a delete command.

• Blur (layer selected) — softens the layer's own pixels. Radius 0–50 px.
• Refine Edge (mask selected) — settles how the mask's boundary is drawn without changing what it covers. Feather softens the transition, Contrast sharpens it, Shift Edge moves the boundary in or out.
• Remove Fringe (Alpha tab, mask selected) — takes the background's colour back out of half-covered edge pixels, so a cut-out loses its pale halo.
• Threshold (mask selected) — chooses where along a grey ramp coverage begins, which is what a soft or gradient mask needs rather than growing and shrinking a shape. Level (−100…100) moves the cut down or up the ramp; Hardness (0…100) closes the ramp around the cut, at 100 into a hard edge.
• Distortion (mask selected) — roughens the mask’s edge so it stops reading as a clean cut: torn, eroded or organic instead of perfectly smooth. Strength sets how far the edge is pushed about. The pattern is seamless Noise unless you choose a map of your own: Load Map… reads a grayscale image from disk, and Paste Map takes one of the document’s maps. Middle gray leaves the edge where it is; the lighter or darker the map, the further the edge moves.
• Inner Shadow — shades the inside of the layer's own coverage, as a layer style. Blend mode, Color, Opacity, Angle (the direction the light comes from), Distance, Choke and Size. Offered on solid-colour and image layers; the Sculpt and Relief layers carry surface rather than colour, so a shadow means nothing there.
• Noise — scatters fine grain over the layer. Amount (%) sets how strong the grain is. It changes brightness only, so the layer keeps its colour.
• Clouds — lays soft, seamless clouds over the layer, like Photoshop’s Render › Clouds. Opacity sets how strongly they brighten and darken it, Scale how large they are (higher is larger), Detail how much fine structure they carry, Contrast how far the dark and light patches separate, and Variation picks a different pattern. Clouds change brightness only, and they always tile.
• Flatten Lighting Gradient, Seam Repair, Texture Rebuild, Tile Repeat (Source tab, image layers) — the Source tab’s tiling tools, applied to this one layer’s picture instead of the whole canvas, so a stock photo placed as a layer can be evened out, repaired and repeated before it reaches the generated maps. They stack inside the layer’s card and run from the top down, each one working on what the one above it produced. Flatten Lighting Gradient and Tile Repeat update by themselves; Seam Repair and Texture Rebuild can take a while, so they wait until you press Build (Rebuild once they have a result). Their controls are described in Working with the Source Texture.

Effect cards

Adjustments and generator steps sit in the same stack as the layers. The list depends on the tab:

• Source — Solid Color; Levels; Hue, Saturation & Lightness; Texture Rebuild; Tile Repeat.
• Albedo — Solid Color; Levels; Hue, Saturation & Lightness; Color Overlay; AO Overlay; and the three de-light passes (see Editing Maps).
• Normal — Layer Mix; Sculpt Layer; Relief Layer; Solid Color.
• Depth — Depth from normals; Levels; Solid Color.
• Ambient Occlusion — AO from depth; Levels; Solid Color.
• Roughness — Roughness from normals; Levels; Solid Color.
• Metalness — Solid Color; Levels.
• Alpha — Alpha from Depth; Levels; Isolate Object; Isolate Tree; Remove Color (see Alpha Masks).
• Emission — Solid Color; Solid Color from Depth; Threshold; Levels; Gradient Map (see Emission).

Two more cards are offered on nearly every map tab:

• Threshold — turns everything below it into a plain black-and-white map at the brightness you pick. Level moves the cut up or down the greys, Hardness decides whether the edge comes out soft or hard. Handy for marking off metal, for tidying up a mask, or for picking out the parts that should glow.
• Gradient Map — re-colours what is below it through a gradient of your own. Drag a stop along the ramp to move it, click one to change its colour, and add or remove stops as you need them.

The generator cards

The step that builds a derived map is a card like any other, so it can be switched off, deleted, or moved under a layer that should not be rebuilt over.

• Depth from normals — builds the depth map from the normal map and keeps it up to date as the normal map changes.
• AO from depth — builds ambient occlusion from the depth map.
• Roughness from normals — builds roughness from the normal map.
• Alpha from Depth — builds an alpha mask from the depth map. Switched off, whatever sits below it in the stack shows through.
• Layer Mix (Normal tab) — blends the AI and procedural detail layers into the normal map. Deleted or switched off, the base stays flat and only the layers above it show.

Sculpt Layer and Relief Layer

Two Normal-tab layers that add surface instead of colour:

• Sculpt Layer — raises or carves shapes into the normal map on a layer of its own, leaving the pixels below untouched. Paint it with the Sculpt brush over the Normal view: Elevation decides how far the stroke lifts or sinks the surface, Width and Blur shape it. The layer keeps a mask recording where it carved, so the eraser can take part of the sculpting back.
• Relief Layer — select an area on the Source view with the Magic Wand, the Smart Mask or the brush, then raise or carve it as a whole. Elevation (positive raises, negative carves, zero leaves the map flat) and Blur (how far the slope reaches in from the edge of the selection: small values give a sharp lip, large ones a soft swell). The selection stays editable, so the same area can be turned inside out at any time.

On the Normal tab the toolbar's brush means two different things, one per view. Over the Normal view it is the Sculpt tool. Over the Source view it is an ordinary brush that fills the relief layer's mask, which is why the selection tools appear there and not on the map itself.

Material effects

Water, Snow, Moss and Lava change the whole material at once rather than a single map. They are listed under a rule at the end of every tab’s + Add menu — on the 3D PBR tab they are all the menu offers — and each can be added once. Its card then sits at the foot of every tab’s sidebar, below the stack, and is applied on top of everything in it: snow, for example, whitens the Albedo, rounds the Normal map, lifts the Depth map and adjusts Roughness, Ambient Occlusion and Metalness to match. Lava works on the Albedo and Emission maps only.

All four read the Depth map to decide where they settle, so they are offered only once there is one — generated, or imported on the Depth tab. They all read the same Depth map, so they agree about the surface and can be combined: lava comes first, moss grows on the rock, water fills the hollows and snow falls on whatever still stands above it.

• Water — floods the texture up to Level. Under the water the surface lies flat and glossy, and the bottom is seen through it, tinted towards Shallow color at the shoreline and Deep color further out. Murkiness sets how quickly the bottom fades as the water deepens, Opacity how strongly the colour is applied, and Reflectivity how shiny the water is on the Roughness map.
• Snow — lays snow on everything that stands above the snow line; Level brings the line down to cover more of the surface. Collect in hollows turns this round, as if the wind had swept the high ground bare and packed the snow into dents and cracks. Advanced holds the look of the snow: Opacity, Snow color, Snow height, Roundness of the outline, Distortion and Micro distortion to break up an edge that is too smooth, Blur, Erosion for bare patches where the stone shows through, and Sparkle for glinting crystals.
• Moss — grows moss in the hollows and cracks below the moss line, or on top of the ridges with Grow on ridges. Level moves the line; Moss tint recolours the moss while keeping its own light and shade. The moss is a real photograph with its own relief, so it has volume and fibre. Advanced adds Opacity, Moss scale (how many times the moss repeats across the tile — it moves in whole steps so the texture stays seamless), Brightness, Moss height, Relief, Roughness, Edge detail (lets the moss’s own shape break the outline into clumps), Roundness, Patchiness (splits the cover into islands), Erosion (opens bare spots inside them) and Distortion.
• Lava — turns the surface into cooled rock lit from inside. Darkening multiplies the Albedo down towards Rock color, and the gradient below them colours the glow: the Depth map is read through it, so its left end paints the bottom of the deepest cracks and its right end the highest rock. Lava writes the Emission map, and adding it opens the Emission tab for you.

Water, Snow and Moss show the area they cover as a small Effect mask on their card. Right-click it and choose Copy Mask to use that area elsewhere — as a layer mask with Paste Mask, or in another application. As with any card, the switch in the header turns the effect off without losing its settings, and Delete Effect in its context menu removes it.

Editing Maps

After the first Generate pass, the sidebar controls in each tab update their respective maps live using cached results. You do not need to regenerate the baseline to see these changes.

The sidebar stack

Each tab's sidebar is a stack of cards — layers you paint on and effects that adjust or generate the map — arranged in the order they are applied. Press + Add at the bottom to add a card, drag a card by its header to move it, and press Delete with a card selected to remove it. The switch in a card's header bypasses it without losing its settings. The sections below describe the cards each tab offers; for how the stack itself works, see Layers and Effects.

Levels

Every map tab can carry a Levels card, added from + Add. It has a histogram and the same controls everywhere:

• Shadow / Highlight — Remaps the dark and light points of the map.
• Midtone (Gamma) — Adjusts the gamma curve of midtones.
• Output Shadow / Output Highlight — Compresses or expands the overall output tone range.

Albedo

Use the Albedo tab to adjust the color and texture overlay settings:

• Mode picker — Switch between Generate from Source and Custom Texture.
• Color Overlay — Add the card to apply a solid color overlay:
  • Color picker — Choose the tint color.
  • Blend mode — Select the blending style. The menu leads with the six basics (Normal, Multiply, Screen, Overlay, Soft Light, Color) and continues with the rest of the standard set below a separator.
  • Opacity — Set the overlay strength.
• AO Overlay — Add the card to bake Ambient Occlusion directly into the albedo:
  • Shadow tint — Choose the shadow color picker.
  • Blend mode and Opacity — Control how the occlusion shadows blend.
  • Radius, Strength, Bias — Control the Ambient Occlusion calculation properties.
  • Post smooth — Select smoothing method (Gaussian, Bilateral (AO), or Bilateral (depth)).
  • Blur σ and Bilateral edge scale — Smooth details while preserving edges.
  • Invert — Invert the dark and light values of the overlay.
• Hue, Saturation & Lightness and Levels — Two cards added from + Add: HSL with a Colorize option and a Reset button, and Input Levels with a histogram.
• Solid Color — A colour layer of its own for painting, erasing and Magic Wand selections. See Layers and Effects.

The Dodge / Burn tool in the toolbar under the preview is also available on this tab: paint to lighten or darken areas of the albedo while keeping their colour. See Working with the Source Texture ▸ Toolbar tools for the tool's settings.

De-light passes (Albedo)

A photograph carries the light it was taken under: shadows, highlights, and the fall of light across the surface. A base colour map should carry none of that. Three cards on the Albedo stack remove it, and, being ordinary stack cards, each one only sees what sits below it — so a pasted texture is de-lit by dragging it underneath them.

• AI De-Light — Mixes in the model's de-lit albedo, removing the lighting baked into the photo and leaving flat surface colour. Amount at 100 is the model's albedo alone, at 0 the original photograph. Offered once a generate run has produced one, and it stays pinned to the bottom of the stack.
• Directional De-Light — Removes light falling from one direction, using the normal map to work out where it came from. Needs a normal map, and the map must describe the same surface as the albedo. Amount and Preserve original color.
• Procedural De-Light — Evens out light and shade by hand, with separate control over the two: Amount, Remove highlights and Remove shadows.

Normal

Use the Normal tab to shape the surface normals and blend detail levels:

• Mode picker — Switch between Generate from Source and Custom Texture.
• Global strength — Scales the overall intensity of the composite normal map.
• Normal format — Choose between GL (Y-up, green channel positive) and DX (Y-down, green channel inverted).
• Layer Mix — A card in the stack that blends the detail frequencies into the map. Switched off or deleted, the base stays flat and only the layers above it show; + Add ▸ Layer Mix puts it back.
  • Large details (AI model) — Controls the visibility of low-frequency AI details.
  • Medium details (AI model) — Controls the visibility of mid-frequency AI details.
  • Fine details (procedural) — Controls the visibility of high-frequency procedural shapes.
• Advanced — Expand to configure detail layer parameters:
  • Large details — Adjust the Blur slider.
  • Fine details — Adjust the Contrast, Blur, and High-pass sliders, or toggle the Invert depth switch.
• Sculpt Layer — Raise or carve shapes into the normal map on a layer of its own. Paint it with the Sculpt brush over the Normal view: Elevation decides how far the stroke lifts or sinks the surface, Width and Blur shape it. The layer keeps a mask of where it carved, so the eraser can take part of the sculpting back.
• Relief Layer — Select an area on the Source view with the Magic Wand, the Smart Mask or the brush, then raise or carve it as a whole. Elevation (positive raises, negative carves, zero leaves the map flat) and Blur (how far the slope reaches in from the edge — small values give a sharp lip, large ones a soft swell). The selection stays editable, so the same area can be turned inside out at any time.

The Normal tab's preview picker switches between the Normal map and the Source photograph, and the toolbar's brush follows it: over the map it is the Sculpt tool, over the photograph it is an ordinary brush filling the relief layer's mask. The selection tools appear on the Source view only, because a selection is made against the photograph rather than against a field of surface directions.

Procedural Relief

An extra helping of surface detail, generated from the picture and laid over whatever the cards below have already built. Add it from + Add ▸ Procedural Relief. Reach for it when the map comes out flat and you want more bite — grain in stone, weave in fabric, pores in leather.

• Amount — how strongly the extra relief shows.
• Frequency balance — four sliders, from Micro detail to Large detail, deciding which sizes of bump the card adds. Raise the small ones for grain, the large ones for broad swells and hollows.
• Base suppression — holds the broadest shapes back, so the card adds texture without bending the whole surface.
• Height contrast — pushes the high parts higher and the low parts lower.
• Denoise — smooths speckle out of the result when the photograph is grainy.
• Normal strength — how deep the finished relief is.
• Invert height — swaps bumps for hollows.

Photometric Relief

Works out the shape of the surface from the light and shade in the photograph, and turns that shape into relief. Where the cards above sharpen detail that is already in the map, this one reconstructs the surface itself, so it rewards a real photograph of a real material lit from one side — stone, brick, plaster, bark, coarse fabric. Add it from + Add ▸ Photometric Relief. It takes a moment to build; the rest of the sidebar keeps working while it does.

• Amount — how deep the result sits in the map underneath it.
• Read depth from — three sliders that set how much the card trusts each clue in the picture: Shading, Reflectance and Texture. The starting values suit most photographs; if part of the surface comes out wrong, try these before anything else.
• Denoise — smooths out the small ripples the calculation leaves in the surface, while strong height steps stay sharp. Raise it when the relief looks grainy; lower it when fine detail starts to disappear.
• Invert — turns the surface inside out, for when hollows come out as bumps.
• Advanced — Find the light automatically works for almost any photograph; switch it off for a scan or a picture lit from straight on and set Light angle by hand. Detail runs from the broad shape of the surface on the left to its grain on the right, and Broad shape is the one to turn down if the result bulges like a dome.

Depth

Use the Depth tab to adjust the heightmap structure derived from normals:

• Mode picker — Switch between Generate from Normals and Custom Texture.
• Depth flattening — Enable the switch to remove low-frequency slopes and gradients, flattening the overall height range. Adjust the amount using the Flatten slider.
• Depth from normals — The card that builds the map from the normal map and keeps it up to date as the normal map changes. Switch it off, delete it, or drag it under a layer that should not be rebuilt over.
• Levels — Adjust the heightmap Input Levels.

Ambient Occlusion

Use the Ambient Occlusion tab to adjust ambient shadows derived from depth:

• Mode picker — Switch between Generate from Depth and Custom Texture.
• Adjustments — Configure the ambient shadow properties:
  • Radius — Sets the shadow search distance.
  • Strength — Controls the darkness of shadows.
  • Bias — Adjusts the shadow threshold to avoid clipping artifacts.
• Advanced — Expand to smooth the shadow maps:
  • Post smooth — Choose between Gaussian, Bilateral (AO), or Bilateral (depth) smoothing.
  • Blur σ — Soften shadows overall.
  • Bilateral edge scale — Keep borders sharp (only available in Bilateral modes).
  • Invert — Flip the light and dark values.
• AO from depth — The card that builds ambient occlusion from the depth map and keeps it up to date as the depth map changes.
• Levels — Adjust the occlusion map Input Levels.

Roughness

Use the Roughness tab to adjust the surface reflection and micro-relief properties:

• Mode picker — Switch between Generate from Normals and Custom Texture.
• Global roughness — Scale the overall glossiness and reflection properties.
• Method — Select the workflow to compute roughness from normal maps:
  • Classic — Basic normal-to-roughness workflow:
    • Kernel — Set the normal variation lookup kernel size.
    • Strength — Control the amplitude of the detail variation.
    • High-pass — Filter out low-frequency flat areas.
    • Output blur — Soften the final generated map.
    • Use Sobel filter — Calculate edges using the Sobel operator.
    • Invert — Invert shiny and rough zones.
  • Curvature — Advanced curvature-based workflow:
    • Curvature blend — Control the blend ratio of surface curvature.
    • Normal detail — Adjust normal z-component weighting.
    • Height presmooth — Apply smoothing before computing curvature.
    • High-pass and Strength — Fine-tune frequency range and scale.
    • Output blur and Invert — Control final post-processing and value range.
• Roughness from normals — The card that builds roughness from the normal map and keeps it up to date as the normal map changes.
• Levels — Adjust the roughness map Input Levels.

Presets

Texturity PBR allows you to save your entire workspace configuration (including all generator and 3D preview settings) as a custom preset. You can quickly switch between different styles or recover custom parameters using the Preset Manager:

• Accessing Presets — Click the rotated ellipsis icon (three dots) next to the sidebar's tab titles to open the Preset Manager.
• Applying a Preset — Choose a saved preset from the dropdown menu list to apply all stored values to your workspace instantly.
• Saving a Preset — Select Save Preset... at the bottom of the presets list, enter a name in the dialog sheet, and save. All active map and 3D preview parameters will be stored.
• Deleting a Preset — Click the red trash can icon next to a preset's name in the list to remove it.

Roughness Workflows

Use the Roughness tab to adjust the roughness map, which controls the surface shininess and glossiness. You can switch the input mode at the top between generating automatically or loading a custom texture.

Global Settings

• Mode picker — Switch between Generate from Normals and Custom Texture.
• Global roughness — A slider at the top to adjust the overall brightness (roughness level) of the map. Lower values make the surface glossier, while higher values make it rougher.

Method Selection

When generating automatically, choose the generation method using the Method segmented picker:

Classic

Generates roughness based on surface gradient changes. Use these controls to adjust the result:

• Kernel — Adjusts the sampling window size for analyzing surface details.
• Strength — Controls the intensity of the generated roughness variations.
• High-pass — Removes low-frequency gradients, leaving only local details.
• Output blur — Softens the output map to reduce noise.
• Use Sobel filter — Toggle this checkbox to change the gradient analysis algorithm style.
• Invert — Check this box to swap rough and smooth areas.

Curvature

Generates roughness by combining surface normals and calculated height details. Use these controls to adjust the result:

• Curvature blend — Balance between normal variation and surface curvature.
• Normal detail — Controls the contribution of the normal map's flatness.
• Height presmooth — Smooths the underlying height details before calculating curvature.
• Strength — Adjusts the contrast of roughness features.
• Output blur — Softens the final roughness output.
• Invert — Swap rough and smooth areas.

Filters

Expand the Filters section in the sidebar to adjust the roughness map's Input Levels (Shadow, Midtone, Highlight, Output range).

Alpha Masks

The Alpha tab produces the matte that says which pixels of the texture are there and which are cut away — the transparency of a leaf, a fence, a plant, a cut-out sprite. It is an optional tab: click the round + button at the right of the tab bar and choose Alpha to open it. The tab is stored with the document, so a file saved with alpha work reopens showing it; the small × on the tab closes it again.

One mask

The tab has exactly one mask, and every tool on it edits that same mask: white keeps the pixel, black cuts it out, and grey is partial coverage. There is no layer stack to arrange here — the commands under + Add write into the mask, and their controls stay reachable on the Mask card afterwards.

Use the picker above the canvas to choose what the preview shows:

• Source — the texture wearing the matte, cut away where the mask hides it.
• Alpha — the matte itself, in black and white.

The top card of the sidebar decides what shows through the holes: a Transparency checkerboard, or a Solid color you pick with the well beside it.

Making a mask — the + Add menu

+ Add at the bottom of the sidebar runs a command over the mask and leaves its controls behind on the Mask card. Isolate Object and Isolate Tree both replace the whole matte and are mutually exclusive: adding one removes the other.

Isolate Object

Finds the subject in the photograph and cuts the background away. Its controls stay live afterwards:

• Auto Edge Snap — re-decides where the mask's edge runs from the photograph itself, recovering parts the isolation clipped off and pulling an overshooting edge back. Switch it off to get back the mask it started from.
• Contour Radius — how far either side of the present contour the boundary may move. Keep it well under half the narrowest part of the subject: a band that meets itself across an arm leaves nothing anchored inside it.

Isolate Tree

The same isolation, then a second pass that cuts the sky back out of the gaps between leaves and branches — the background an ordinary isolation leaves trapped inside a crown.

• Sensitivity — how readily a pixel between the leaves is treated as sky.
• Leaf Protection — how strongly leaves are kept when they look like the background.
• Auto Edge Snap and Contour Radius — as above.

Alpha from Depth

Replaces the mask with the depth map, and keeps it in step as the depth map changes. Needs a depth map to copy, so it is greyed out until one exists. Switched off, whatever was in the mask before shows again.

Refine Edge

An effect on the Mask card, added from the card's own + Add. A finishing pass on a mask that already exists. None of these three decide what is cut out — they only settle how the boundary between the two sides is drawn. The card's switch takes all three off at once, which is how you see what they were doing.

• Feather — softens the transition (0–24 px).
• Contrast — sharpens it again.
• Shift Edge — moves the boundary outward or inward (−100…100).

Remove Fringe

A separate effect on the Mask card, added from the same + Add. A pixel the subject only half covers keeps some of the background's colour, which reads as a pale halo; this takes that colour back out. It changes colour, not the mask, and measures the background the first time it runs. Amount sets how much is removed (0–100).

Levels

Black point, midtones and white point of the mask itself, with a histogram. Useful for tightening a soft matte or opening one up.

Remove Color

Cuts a chosen colour out of the mask — a chroma key by hand.

• The switch enables the pass; it goes inactive whenever something else rewrites the mask, and switching it back on re-applies it.
• Color — the colour well, or press Pick from Image to sample the next pixel you click on the canvas.
• Sensitivity — how far from the selected colour a pixel may be and still be removed.

The Mask card

Below the commands sits the mask itself, with its visibility switch, its thumbnail, and Invert / Clear. Right-click the thumbnail for Copy Mask, Paste Mask, Fill, Clear and Invert. A pasted mask must have the same pixel size as the source image.

Tools

The toolbar under the preview carries the mask tools:

• Brush / Eraser — the brush paints white into the mask to reveal, the eraser paints black to hide. Click the pill for the current tool, hold it to switch to the other. Width, Blur and Opacity are in the popover; [ and ] change the width. The brush can also be given a stencil — see Working with the Source Texture ▸ Stencils.
• Magic Wand (W) — click a colour to select its connected region; Option-click subtracts it. Tolerance sets how different a colour may be from the clicked pixel and still be selected; Contiguous switched off selects matching colours across the whole image.
• Smart Mask (S) — a rough stroke that finds the real edge underneath it. The stroke is only a search area, not a shape. Choose the pass in the tool settings: Find Object Boundary starts on the existing mask and runs over the missing part; Find Background Boundary starts on known background and runs over an unwanted mask area. Tolerance sets how far the material may grow out of the stroke.
• Refine Edge Detail — the whole-image refinement, kept only where you paint. It recovers detail on hair, foliage and frayed cloth, and it roughens a clean straight edge, which is exactly why it is a brush and never runs on its own.
• Selection tools — the Polygonal Lasso (L) and the Rectangular / Elliptical Marquee (M). See Working with the Source Texture ▸ Selection tools.
• Pan — drag the canvas, or hold Space with any tool.

Where the mask is used

• 3D PBR preview — an alpha mask cuts the previewed material automatically; there is no separate switch to throw.
• Export — the mask can be written out as its own Alpha map, and the Transparency checkbox next to Source and Albedo bakes it into those files as real transparency (in a format that supports it).
• Live Home 3D export — the Panel and Sprite objects are cut to the shape of the alpha mask. Without a mask a sprite exports as a full rectangle, and the sidebar warns you about it.

Metalness

The Metalness map says which parts of the surface are metal and which are not: white is metallic, black is not, and there is rarely much reason for anything in between. Textures with metal fittings — a studded door, a riveted plate, a rusted hinge on painted wood — need one; a plain brick or fabric does not.

Opening the tab

Metalness is an optional tab. Click the round + button at the right of the tab bar and choose Metalness. The map opens black — nothing metallic yet — and you paint white over the metallic areas. The tab is stored with the document, and the small × on the tab closes it again.

Working on the map

Use the picker above the canvas to switch the preview between Source and Metalness. Over the Source view the map is drawn as a coloured overlay so you can see what you are marking against the photograph; the colour of that overlay is the Selection preview overlay well at the top of the sidebar.

• Brush / Eraser — paint white to mark metal, erase to take it back. Width, Blur and Opacity in the popover, [ and ] for the width, and a stencil if you want the mark to carry grain.
• Magic Wand (W) and Smart Mask (S) — select a region of the photograph and fill it into the map in one go.
• Selection tools — the Polygonal Lasso (L) and the Rectangular / Elliptical Marquee (M), with the same add / subtract / intersect modifiers as everywhere else.

Sidebar

The sidebar is the usual stack (see Layers and Effects). + Add offers a Solid Color layer and Levels.

Preview and export

In the 3D PBR tab the Metalness slider scales the painted map when there is one, and sets a single flat value for the whole material when there is not — so a map is what lets one part of the surface be metal while the rest is not. On the Export tab, tick Metalness in the Maps list to write it out with the rest of the set.

Emission

The Emission map says which parts of the surface give off light of their own — the filament of a lamp, a lit window, the letters on a sign, embers in ash. Black means no light at all; the brighter the colour, the stronger the glow. A texture with nothing luminous in it does not need one.

Opening the tab

Emission is an optional tab. Click the round + at the right of the tab bar and choose Emission. The map starts black — nothing glows yet — and you add the glowing parts yourself. The tab is saved with the document, and the small × closes it again.

Adding the Lava material effect opens the tab too: Lava writes a glow into this map from the Depth map, over whatever you have drawn here yourself (see Layers and Effects).

Working on the map

Above the preview you switch between Source and Emission. Over the Source view the map is drawn as a coloured overlay, so you can see against the photograph what you are marking.

• Solid Color — the usual way to begin. Add a colour layer for the parts that should glow, then paint on its mask, or select them with the Magic Wand or the Smart Mask and fill.
• Brush / Eraser — paint the glow in directly and rub it back out. Width, Blur and Opacity in the flyout, [ and ] for the width.
• Selection tools — the Polygon Lasso (L) and the rectangular and elliptical selections (M), with the same modifier keys for adding, subtracting and intersecting as everywhere else.

Sidebar

The sidebar is the usual stack (see Layers and Effects). + Add offers a Solid Color layer, Solid Color from Depth, Threshold, Levels and Gradient Map. The Background card at the foot of the stack sets the colour the map carries wherever no layer covers it — black, in nearly every case.

Preview and export

On the 3D PBR tab the Emission slider sets how brightly the map shines, and Glow spreads a soft halo around it. On the Export tab, switch on Emission in the map list to write it out with the rest of the set.

3D PBR Preview

Use the 3D PBR tab to preview your generated material on a lit 3D model in real time.

Bottom Toolbar

The toolbar under the 3D window allows you to switch the viewport drag behavior and adjust the field of view:

• Orbit Camera (circular arrows icon) — Click and drag with the left mouse button to rotate the camera around the object. Right-click and drag to rotate the background panorama environment and key light direction.
• Pan Camera (hand icon) — Click and drag to slide the camera viewport position horizontally or vertically.
• Rotate Environment (globe icon) — Click and drag to rotate the panorama environment and light direction without moving the camera.
• Zoom Controls — Use the minus/plus magnifier buttons, the slider, or type a percentage in the input box to zoom in and out.

Transparency

An alpha mask made on the Alpha tab cuts the previewed material automatically — there is no separate switch for it. Where the mask is black the surface is not drawn, so a leaf, a fence or a cut-out sprite reads in the preview the way it will in the engine.

Sidebar Settings

Configure the scene, material, and geometric properties in the sidebar:

3D Scene

• Object — Choose the preview mesh shape:
  • Plane — Flat sheet, ideal for tiles, walls, and floors.
  • Rounded Cube — A beveled cube with rounded edges.
  • Sphere — A simple ball, useful for checking general shading.
• Panorama — Choose the environment lighting preset in the dropdown.
• Solid background color — Toggle the switch to hide the panorama image and show a solid backdrop color. Use the color picker to choose the color.
• Sway camera — Toggle to enable a subtle, automatic idling camera movement for dynamic material feedback.
• Environment lighting — Adjust the brightness of the ambient light coming from the panorama.
• Direct light — Adjust the brightness of the directional sun-like key light.

Preview tuning

• Scale — Adjusts the UV tiling scale to tile the maps across the object surface.
• Normal strength — Adjusts the intensity of the normal bump map.
• Roughness map strength (shown if a roughness map is generated) — Scales the generated roughness map values.
• Roughness constant (shown if no roughness map is active) — Sets a fallback flat roughness value.
• Metalness — Sets the metallic property of the material (0 for non-metal, 1 for fully metallic).
• Ambient Occlusion — Controls the shadow darkness of the ambient occlusion map on the material.
• Emission (once the Emission tab holds something) — how brightly the glowing parts shine.
• Glow and Glow strength — spread a soft halo around the glowing parts, and set how far it reaches.

Displacement

This section appears when the Object is set to Sphere or Rounded Cube. It deforms the actual mesh geometry using the depth map:

• Displacement switch — Enable or disable mesh displacement.
• Mesh detail (×) — Increases the subdivisions of the 3D mesh for finer geometric details.
• Displacement depth — Adjusts how far the surface vertex points deform from the baseline.

Parallax displacement

This section appears when the Object is set to Plane. It creates a volumetric depth effect on flat surfaces:

• Parallax switch — Enable or disable the parallax effect.
• Depth — Adjusts the simulated height depth scaling.

Material effects

The + Add button at the foot of the sidebar offers Water, Snow, Moss and Lava. They change every map at once, which makes the 3D view a good place to judge them. See Layers and Effects.

Exporting Textures

Use the Export tab to choose where to save your texture maps, their format, output size, and which specific maps to write to disk.

Sidebar Settings

Configure your export options in the sidebar panels before clicking the primary Export to Folder button:

Folder

• Choose folder... — Click to open a macOS system panel and select the destination directory.
• File name — Enter the base name for the exported files. Custom suffixes will be appended to this name.

Format

• Choose between PNG (lossless, recommended), JPEG (lossy), and TIFF (lossless, high-fidelity) format.
• Quality (shown for JPEG only) — Adjust the slider to set the JPEG compression percentage (50% to 100%).

Output size

• Enter the export dimensions in the Width and Height fields.
• Lock Aspect Ratio (lock icon) — Toggle to keep the original image proportions when resizing, or unlock to stretch the image.
• Note: The maximum base export size is 1024 pixels. To export larger textures, configure the Upscale options below.

Upscale

Choose an upscaling factor to enlarge the texture maps upon export:

• Off — Exports maps at their baseline processing resolution.
• 2× — Doubles the output resolution (e.g., up to 2048 px).
• 4× — Quadruples the output resolution (e.g., up to 4096 px).

Maps

Toggle the checkbox next to each map you want to save. Customize the file suffix in the text box next to each map (e.g., the suffix `_normal` appends to your base file name, creating `base_normal.png`):

• Albedo
• Normal
• Depth
• Ambient occlusion
• Roughness
• Alpha — (Available once an alpha mask exists) The matte from the Alpha tab.
• Metalness — (Available once a metalness map exists) The map from the Metalness tab.
• Source
• Source attribution info (.txt) — (Available only when importing from stock providers) Saves a text file containing provider, author name, and original stock links for license and credit purposes.

Transparency — Source and Albedo each carry a Transparency checkbox beside their name. Ticked, the alpha mask is baked into that file as real transparency instead of being written as a separate map. It needs an alpha mask and a format that can carry transparency — PNG or TIFF, not JPEG — and is greyed out otherwise.

Export 3D Document

Tick Export 3D Document to write a ready-made 3D file alongside the maps, then choose the format:

• USDZ and glTF — The maps applied to a sample object, for checking the material in another application.
• LHZD — A Live Home 3D document. Rather than a material sample, this builds a real building part, so it asks for two more things:
  • Object — Panel, Door, Window or Sprite. Hover the card for a description of the one you picked.
  • Size — The width and height of the part, in metres.
  • Edit glass… (Window only) — Opens an editor for drawing the panes to cut out of the window. Place points with the pen and click the first point to close a shape; switch to the select tool to move shapes and corners. Delete removes the last point or the selection, Space pans, the scroll wheel zooms, and Snap to right angles keeps the panes square.
  • Panel and Sprite are cut to the shape of the alpha mask. Without one, a sprite exports as a full rectangle — the sidebar says so when that is about to happen.

Batch Export

Expand this advanced section to process multiple textures in a folder at once using your current export and map settings:

• Settings — Choose Default settings or one of your saved presets. The whole run uses that preset, so a folder of textures can be processed with a look you set up once.
• Input folder — Choose the folder containing the source images you want to convert.
• Output folder — Choose the folder where the generated PBR map sets will be saved.
• Run batch — Click to process all images in the input directory. The button turns into Stop while the run is going; pressing it lets the file in flight finish and then stops, leaving everything already written on disk.

Saving and Opening Documents

A whole session of work — the source texture, every setting, every layer and mask you painted — can be saved to a single Texturity document with the extension .txtrt, and opened again later exactly as you left it.

File menu

• New (Command-N) — clears the workspace back to a blank document. If the current one has unsaved changes you are asked about them first.
• Open… (Command-O) — opens a .txtrt document.
• Open Recent — the documents you opened last, with Clear Menu at the bottom of the list.
• Close (Command-W) — closes the window, asking about unsaved changes.
• Save… (Command-S) — saves the current document. A source texture has to be loaded before there is anything to save.
• Save As… (Shift-Command-S) — saves under a new name.

What a document holds

The file keeps everything that cannot be rebuilt identically, and leaves out everything that can:

• The source texture, with any brush, healing, clone-stamp or crop work baked into it.
• Every generator setting on every tab, so the maps you never touched are regenerated from the source when the file is opened.
• Maps you painted, sculpted or imported yourself — an albedo you retouched, a normal map you sculpted, a depth or roughness map you brought in from elsewhere.
• The layers and masks of each tab, and which of the optional tabs (Alpha, Metalness) were open.
• Rebuild Seam and the other seam layers, while they are still separate toggleable layers.

Because the untouched maps are regenerated rather than stored, a document stays small, and opening one runs a short rebuild before the maps appear.

Presets are separate

A document is one piece of work. A preset is a set of settings you want to reuse across many textures — see Editing Maps ▸ Presets. Presets live with the app rather than in the document, which is why a preset can also be chosen for a batch export.

Keyboard Shortcuts

Documents

• Command-N — New document
• Command-O — Open a document
• Command-S — Save
• Shift-Command-S — Save As…
• Command-W — Close the window

General

• Command-Z — Undo
• Shift-Command-Z — Redo
• Command-C — Copy the current map to the clipboard
• Command-V — Paste an image from the clipboard
• Command-0 — Bring the main window to the front
• Shift-Command-? — Open Help

Navigation

• Space (hold) — Temporarily switch to the Pan tool
• Command-+ or Command-= — Zoom in
• Command-- — Zoom out
• Scroll wheel — Zoom in/out in texture previews, including Crop and Clone Stamp workflows

Brush tools (Spot Heal, Clone Stamp, Brush / Eraser, Dodge / Burn, Smart Mask, Refine Edge Detail)

• [ — Decrease brush width
• ] — Increase brush width
• Option-click — Set the clone stamp source point
• Option (hold, Brush) — Switch to the eyedropper to sample a color

Selection tools

• W — Magic Wand
• S — Smart Mask
• L — Polygonal Lasso
• M — Marquee (Shift-M swaps between the rectangular and the elliptical one)
• Shift on the first click or press — Add the new shape to the selection
• Option — Subtract it; Option-Shift — Intersect
• Shift while placing a lasso point — Snap the segment to 45° directions
• Shift while dragging a marquee — Keep it square or circular; Option grows it from the centre
• Space (hold, while dragging a marquee) — Move the whole shape, then let go to carry on sizing it
• Return — Close the polygon, or apply the current operation to a closed selection
• Delete — Remove the last polygon point
• Escape — Deselect (pressed again with nothing selected, it leaves the tool)

Filling a closed selection is done from the tool's toolbar: + fills it white, − fills it black, and the third button keeps only what falls inside it.

Sidebar

• Delete or Backspace — Remove the selected layer or effect card

Crop tool

• Drag inside selection — Move the crop area in Perspective mode
• Drag outside selection — Pan the preview in Perspective mode
• Return or Enter — Apply crop
• Escape — Cancel crop

End User License Agreement

End User License Agreement

THIS LICENSING AGREEMENT ("AGREEMENT") IS A LEGAL AGREEMENT BETWEEN YOU, EITHER AN INDIVIDUAL OR A SINGLE ENTITY, AND BELIGHT SOFTWARE ("LICENSOR"). IF YOU DO NOT AGREE TO EACH AND EVERY TERM, YOU ARE TO CLICK "DISAGREE" BUTTON AND NOT TO OPEN, USE OR INSTALL THE SOFTWARE AND YOU MUST DELETE THE SOFTWARE FROM YOUR COMPUTER, MOBILE DEVIVCE, AND/OR ANY OTHER DATA STORAGE DEVICE.

NOTE: Mac App Store customers should refer to the standard App Store EULA.

1. GENERAL

Texturity PBR software and documentation accompanying this License whether on disk, on any other media (collectively the "Software") are licensed to you by BeLight Software ("Licensor") for use only under the terms of this License, and Licensor reserves all rights not expressly granted to you. The rights granted herein do not include any other patents or intellectual property rights.

Title and intellectual property rights in and to any content displayed by or accessed through the Software belong to the respective content owner. This License does not grant you any rights to use such content outside Texturity PBR.

2. LICENSE

Licensor hereby grants to You, and You accept, a non-exclusive license to install and use Software and Documentation, only as authorized in this license. The license permits either multiple users to install and use the software on a single computer, or a single user to install and use the software on multiple computers. The license doesn't allow multiple users to use the Software on multiple computers. You agree that You will not assign, sub license, transfer, pledge, lease, rent, or share Your rights under this license. You may not reverse engineer, decompile or disassemble the Licensed Software for any purpose whatsoever.

3. TRANSFER

You may not distribute copies of the Software to any third party, nor may you use, rent, loan, sub-license, or lease the Software to third parties. You may, however, transfer all your rights to use the Software to another person or legal entity provided that:

(a) You also transfer this Agreement, the Software and all other software bundled or pre-installed with the Software, including all copies, Updates and prior versions, to such person or entity;

(b) You retain no copies, including backups and copies stored on a computer; and

(c) the receiving party accepts the terms and conditions of this Agreement and any other terms and conditions upon which You legally obtained license to the Software.

Notwithstanding the foregoing, You may not transfer pre-release or not for resale copies of the Software.

4. ILLEGAL USE

You are not to use the Software, whether directly or indirectly, for any illegal purpose under the laws or ordinances of Federal, State, or local governments. It is Your sole responsibility to know and understand the laws and/or ordinances that govern the use of the Software. In the event that You violate any Federal, State or local law or ordinance by direct or indirect use of the Software, You shall take full legal responsibility for such illegal use. You shall hold Licensor harmless and without fault and otherwise indemnify Licensor for any damage, cost or liability incurred by Licensor as a result of any use, whether or not such use is within the scope of the license set forth herein.

5. ARTIFICIAL INTELLIGENCE

This is new technology and it does not always work as expected. No guarantees are made as to the suitability of the Assets for the Customer. Your use of the Software is at your sole risk. The Software is provided on an "AS IS" and "AS AVAILABLE" basis. The Software is provided without warranties of any kind, whether express or implied, including, but not limited to, implied warranties of merchantability, fitness for a particular purpose, non-infringement or course of performance.

Licensor and its subsidiaries, affiliates, and its licensors do not warrant that:

a) the Software will function uninterrupted, secure or available at any particular time or location;

b) any errors or defects will be corrected;

c) the results of using the Software will meet your requirements.

Licensor claims no rights in the Output You generate using the Software. You are accountable for the Output you generate and its subsequent uses. No use of the output can contravene any provision as stated below.

Use Restrictions

You agree not to use Texturity PBR or its derivatives:

- In any way that violates any applicable national, federal, state, local or international law or regulation;

- For the purpose of exploiting, harming or attempting to exploit or harm minors in any way;

- To generate or disseminate verifiably false information and/or content with the purpose of harming others;

- To generate or disseminate personal identifiable information that can be used to harm an individual;

- To defame, disparage or otherwise harass others;

- For fully automated decision making that adversely impacts an individual’s legal rights or otherwise creates or modifies a binding, enforceable obligation;

- For any use intended to or which has the effect of discriminating against or harming individuals or groups based on online or offline social behavior or known or predicted personal or personality characteristics;

- To exploit any of the vulnerabilities of a specific group of persons based on their age, social, physical or mental characteristics, in order to materially distort the behavior of a person pertaining to that group in a manner that causes or is likely to cause that person or another person physical or psychological harm;

- For any use intended to or which has the effect of discriminating against individuals or groups based on legally protected characteristics or categories;

- To provide medical advice and medical results interpretation;

- To generate or disseminate information for the purpose to be used for administration of justice, law enforcement, immigration or asylum processes, such as predicting an individual will commit fraud/crime commitment (e.g. by text profiling, drawing causal relationships between assertions made in documents, indiscriminate and arbitrarily-targeted use).

Third-Party AI Models

AI models and derivatives of models used in Texturity PBR. When generating AI images with Texturity PBR, you also agreeing to comply with the following third-party terms and conditions: Depth Anything, RealESRGANer, LaMa, BEN2.

6. Third-Party Materials

Texturity PBR may display, include or make available content, data, information, applications or materials from third parties ("Third-Party Materials") or provide links to certain third-party web sites. By using the Software, you acknowledge and agree that Apple and Licensor are not responsible for examining or evaluating the content, accuracy, completeness, timeliness, validity, copyright compliance, legality, decency, quality or any other aspect of such Third-Party Materials or websites. Apple and Licensor, their officers, affiliates and subsidiaries do not warrant, endorse or assume and will not have any liability or responsibility to you or any other person for any Third-Party Services, Third-Party Materials or web sites or any other materials, products, or services of third parties. Third-Party Materials and links to other websites are provided solely as a convenience to you.

7. UPDATES

If the Software is an Update from an earlier release, you now may use that updated product only in accordance with this Agreement.

If the Software is an Upgrade from a previously released version, you must possess a valid license code for the new version in accordance to the Upgrade policy for that particular Upgrade. You may continue to use the previous version of the Software on your computer after You receive the Upgrade, provided that:

- new and the previous versions are installed on the same computer;

- the previous version or copies thereof are not transferred to another party or computer unless all copies of the Upgrade are also transferred to such party or computer; and

- You acknowledge that any obligation BeLight Software may have to support the previous version of the Software may be ended upon availability of the Update.

8. LICENSOR'S RIGHTS

You acknowledge and agree that the Software and Documentation consists of proprietary, published and unpublished property of Licensor. You further acknowledge and agree that all right, title, and interest in and to the Software and Documentation are and shall remain with Licensor. This license conveys to You the right to install and use the Software and Documentation in accordance with the terms of this license. All rights not expressly granted here are reserved by BeLight Software. The Licensor will not transmit your personal information to any third party without your express consent.

9. TERMINATION

This license is effective upon Your installing the software on any machine, and shall continue until terminated. You may terminate this Agreement at any time. The Licensor may immediately terminate this License Agreement if you breach any representation, warranty, agreement or obligation contained or referred to in this License Agreement. Upon termination, you must dispose of the Software and all copies or versions of the Software by destroying the Software.

10. LIMITED WARRANTY

BELIGHT SOFTWARE DISCLAIMS ALL WARRANTIES, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, WITH REGARD TO THE LICENSED SOFTWARE AND ALL ACCOMPANYING MATERIALS. BELIGHT SOFTWARE AND ITS AGENTS DO NOT AND CANNOT WARRANT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY USING THE SOFTWARE.

11. LIMITATION OF LIABILITY

IN NO EVENT WILL BELIGHT SOFTWARE OR ITS AGENTS BE LIABLE TO YOU FOR ANY DAMAGES, CLAIMS OR COSTS WHATSOEVER OR ANY CONSEQUENTIAL, INDIRECT, INCIDENTAL DAMAGES, OR ANY LOST PROFITS OR LOST SAVINGS. BELIGHT SOFTWARE'S AGGREGATE LIABILITY AND THAT OF ITS AGENTS UNDER OR IN CONNECTION WITH THIS AGREEMENT SHALL BE LIMITED TO THE AMOUNT PAID FOR THE SOFTWARE, IF ANY.

12. SEVERABILITY

Should any term of this license be declared void or unenforceable by any court of competent jurisdiction, such declaration shall have no effect on the remaining terms hereof.

13. GENERAL PROVISIONS

This License Agreement is personal between You and BeLight Software. It is not transferable and any attempt by You to rent, lease, sublicense, assign or transfer any of the rights, duties or obligations hereunder. YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT, UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS. YOU FURTHER AGREE THAT IT IS THE COMPLETE AND EXCLUSIVE STATEMENT OF THE AGREEMENT BETWEEN YOU AND BELIGHT SOFTWARE WHICH SUPERSEDES ANY PROPOSAL OR PRIOR AGREEMENT, ORAL OR WRITTEN, AND ANY OTHER COMMUNICATIONS BETWEEN YOU AND BELIGHT SOFTWARE OR BELIGHT SOFTWARE'S AGENT(S) RELATING TO THE LICENSED SOFTWARE.

If you have any questions regarding this Agreement or if you wish to request any information from BeLight Software, please use the address and contact information included with this product to contact BeLight Software.

© 2026 BeLight Software, Ltd. All Rights Reserved. BeLight Software and Texturity PBR are trademarks of BeLight Software, Ltd. Mac, the Mac logo, macOS, and Macintosh are trademarks of Apple, Inc. All other trademarks, registered trademarks, product and/or brand names are the sole property of their respective owners.

Back to End User License Agreement

Apache License 2.0

Applies to Depth Anything V2.

Applies to LaMa, Copyright 2021 Samsung Research.

Apache License
                           Version 2.0, January 2004
                        http://www.apache.org/licenses/

   TERMS AND CONDITIONS FOR USE, REPRODUCTION, AND DISTRIBUTION

   1. Definitions.

      "License" shall mean the terms and conditions for use, reproduction,
      and distribution as defined by Sections 1 through 9 of this document.

      "Licensor" shall mean the copyright owner or entity authorized by
      the copyright owner that is granting the License.

      "Legal Entity" shall mean the union of the acting entity and all
      other entities that control, are controlled by, or are under common
      control with that entity. For the purposes of this definition,
      "control" means (i) the power, direct or indirect, to cause the
      direction or management of such entity, whether by contract or
      otherwise, or (ii) ownership of fifty percent (50%) or more of the
      outstanding shares, or (iii) beneficial ownership of such entity.

      "You" (or "Your") shall mean an individual or Legal Entity
      exercising permissions granted by this License.

      "Source" form shall mean the preferred form for making modifications,
      including but not limited to software source code, documentation
      source, and configuration files.

      "Object" form shall mean any form resulting from mechanical
      transformation or translation of a Source form, including but
      not limited to compiled object code, generated documentation,
      and conversions to other media types.

      "Work" shall mean the work of authorship, whether in Source or
      Object form, made available under the License, as indicated by a
      copyright notice that is included in or attached to the work
      (an example is provided in the Appendix below).

      "Derivative Works" shall mean any work, whether in Source or Object
      form, that is based on (or derived from) the Work and for which the
      editorial revisions, annotations, elaborations, or other modifications
      represent, as a whole, an original work of authorship. For the purposes
      of this License, Derivative Works shall not include works that remain
      separable from, or merely link (or bind by name) to the interfaces of,
      the Work and Derivative Works thereof.

      "Contribution" shall mean any work of authorship, including
      the original version of the Work and any modifications or additions
      to that Work or Derivative Works thereof, that is intentionally
      submitted to Licensor for inclusion in the Work by the copyright owner
      or by an individual or Legal Entity authorized to submit on behalf of
      the copyright owner. For the purposes of this definition, "submitted"
      means any form of electronic, verbal, or written communication sent
      to the Licensor or its representatives, including but not limited to
      communication on electronic mailing lists, source code control systems,
      and issue tracking systems that are managed by, or on behalf of, the
      Licensor for the purpose of discussing and improving the Work, but
      excluding communication that is conspicuously marked or otherwise
      designated in writing by the copyright owner as "Not a Contribution."

      "Contributor" shall mean Licensor and any individual or Legal Entity
      on behalf of whom a Contribution has been received by Licensor and
      subsequently incorporated within the Work.

   2. Grant of Copyright License. Subject to the terms and conditions of
      this License, each Contributor hereby grants to You a perpetual,
      worldwide, non-exclusive, no-charge, royalty-free, irrevocable
      copyright license to reproduce, prepare Derivative Works of,
      publicly display, publicly perform, sublicense, and distribute the
      Work and such Derivative Works in Source or Object form.

   3. Grant of Patent License. Subject to the terms and conditions of
      this License, each Contributor hereby grants to You a perpetual,
      worldwide, non-exclusive, no-charge, royalty-free, irrevocable
      (except as stated in this section) patent license to make, have made,
      use, offer to sell, sell, import, and otherwise transfer the Work,
      where such license applies only to those patent claims licensable
      by such Contributor that are necessarily infringed by their
      Contribution(s) alone or by combination of their Contribution(s)
      with the Work to which such Contribution(s) was submitted. If You
      institute patent litigation against any entity (including a
      cross-claim or counterclaim in a lawsuit) alleging that the Work
      or a Contribution incorporated within the Work constitutes direct
      or contributory patent infringement, then any patent licenses
      granted to You under this License for that Work shall terminate
      as of the date such litigation is filed.

   4. Redistribution. You may reproduce and distribute copies of the
      Work or Derivative Works thereof in any medium, with or without
      modifications, and in Source or Object form, provided that You
      meet the following conditions:

      (a) You must give any other recipients of the Work or
          Derivative Works a copy of this License; and

      (b) You must cause any modified files to carry prominent notices
          stating that You changed the files; and

      (c) You must retain, in the Source form of any Derivative Works
          that You distribute, all copyright, patent, trademark, and
          attribution notices from the Source form of the Work,
          excluding those notices that do not pertain to any part of
          the Derivative Works; and

      (d) If the Work includes a "NOTICE" text file as part of its
          distribution, then any Derivative Works that You distribute must
          include a readable copy of the attribution notices contained
          within such NOTICE file, excluding those notices that do not
          pertain to any part of the Derivative Works, in at least one
          of the following places: within a NOTICE text file distributed
          as part of the Derivative Works; within the Source form or
          documentation, if provided along with the Derivative Works; or,
          within a display generated by the Derivative Works, if and
          wherever such third-party notices normally appear. The contents
          of the NOTICE file are for informational purposes only and
          do not modify the License. You may add Your own attribution
          notices within Derivative Works that You distribute, alongside
          or as an addendum to the NOTICE text from the Work, provided
          that such additional attribution notices cannot be construed
          as modifying the License.

      You may add Your own copyright statement to Your modifications and
      may provide additional or different license terms and conditions
      for use, reproduction, or distribution of Your modifications, or
      for any such Derivative Works as a whole, provided Your use,
      reproduction, and distribution of the Work otherwise complies with
      the conditions stated in this License.

   5. Submission of Contributions. Unless You explicitly state otherwise,
      any Contribution intentionally submitted for inclusion in the Work
      by You to the Licensor shall be under the terms and conditions of
      this License, without any additional terms or conditions.
      Notwithstanding the above, nothing herein shall supersede or modify
      the terms of any separate license agreement you may have executed
      with Licensor regarding such Contributions.

   6. Trademarks. This License does not grant permission to use the trade
      names, trademarks, service marks, or product names of the Licensor,
      except as required for reasonable and customary use in describing the
      origin of the Work and reproducing the content of the NOTICE file.

   7. Disclaimer of Warranty. Unless required by applicable law or
      agreed to in writing, Licensor provides the Work (and each
      Contributor provides its Contributions) on an "AS IS" BASIS,
      WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or
      implied, including, without limitation, any warranties or conditions
      of TITLE, NON-INFRINGEMENT, MERCHANTABILITY, or FITNESS FOR A
      PARTICULAR PURPOSE. You are solely responsible for determining the
      appropriateness of using or redistributing the Work and assume any
      risks associated with Your exercise of permissions under this License.

   8. Limitation of Liability. In no event and under no legal theory,
      whether in tort (including negligence), contract, or otherwise,
      unless required by applicable law (such as deliberate and grossly
      negligent acts) or agreed to in writing, shall any Contributor be
      liable to You for damages, including any direct, indirect, special,
      incidental, or consequential damages of any character arising as a
      result of this License or out of the use or inability to use the
      Work (including but not limited to damages for loss of goodwill,
      work stoppage, computer failure or malfunction, or any and all
      other commercial damages or losses), even if such Contributor
      has been advised of the possibility of such damages.

   9. Accepting Warranty or Additional Liability. While redistributing
      the Work or Derivative Works thereof, You may choose to offer,
      and charge a fee for, acceptance of support, warranty, indemnity,
      or other liability obligations and/or rights consistent with this
      License. However, in accepting such obligations, You may act only
      on Your own behalf and on Your sole responsibility, not on behalf
      of any other Contributor, and only if You agree to indemnify,
      defend, and hold each Contributor harmless for any liability
      incurred by, or claims asserted against, such Contributor by reason
      of your accepting any such warranty or additional liability.

   END OF TERMS AND CONDITIONS

   APPENDIX: How to apply the Apache License to your work.

      To apply the Apache License to your work, attach the following
      boilerplate notice, with the fields enclosed by brackets "[]"
      replaced with your own identifying information. (Don't include
      the brackets!)  The text should be enclosed in the appropriate
      comment syntax for the file format. We also recommend that a
      file or class name and description of purpose be included on the
      same "printed page" as the copyright notice for easier
      identification within third-party archives.

   Copyright [yyyy] [name of copyright owner]

   Licensed under the Apache License, Version 2.0 (the "License");
   you may not use this file except in compliance with the License.
   You may obtain a copy of the License at

       http://www.apache.org/licenses/LICENSE-2.0

   Unless required by applicable law or agreed to in writing, software
   distributed under the License is distributed on an "AS IS" BASIS,
   WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
   See the License for the specific language governing permissions and
   limitations under the License.

Back to End User License Agreement

BSD 3-Clause License

Applies to RealESRGANer.

BSD 3-Clause License

Copyright (c) 2021, Xintao Wang
All rights reserved.

Redistribution and use in source and binary forms, with or without
modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this
   list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice,
   this list of conditions and the following disclaimer in the documentation
   and/or other materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its
   contributors may be used to endorse or promote products derived from
   this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE
FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER
CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Back to End User License Agreement

MIT License

Applies to BEN2 (Background Erase Network).

MIT License

Copyright (c) 2025 Prama LLC

Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all
copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE
SOFTWARE.